At 32, Tobi Michael Adeyeye, known as Toby Shang, has become a prominent figure in the growing Afrohype sub-genre within Afrobeats music. His energetic style of hyping—rapid-fire ad-libs and vocal interjections over beats—has evolved from traditional West African praise-singing and call-and-response customs into a highly sought-after performance art, frequently seen at weddings, raves, and corporate gatherings across Nigeria and beyond.
Shang’s journey began during his university days at the University of Lagos, where his dynamic presence and crowd interaction earned him his nickname, inspired by a historical Chinese dynasty he studied. Since then, he has released two EPs, hosted raves, and established the School of Hype, a masterclass aimed at fostering new talent in the field. Hypemen like Shang do not typically rap or sing conventionally but instead create excitement with onomatopoeic sounds and rapid vocalizations, often prompting audiences to shower them with money—a popular Nigerian custom.
The role of hypemen, predominantly a male-driven niche, has seen contributions from notable women such as Lady Ponce from Yaoundé, Deborah “Hype Queen Baddy” Francis from Lagos, and Lagos-based radio presenter Melody “M.I.A” Adigo. This sub-genre is rooted in a long-standing tradition that spans continents, originating in West African griots and echoed in the African American spirituals of the United States. These influences culminated in the atalaku style, first prominent in 1980s Kinshasa and later adopted in genres like Côte d’Ivoire’s coupé-décalé, often accompanied by the flamboyant practice of spraying cash at performers or guests.
Renowned artists such as Kirk Franklin, Koffi Olomide, and Awilo Longomba have contributed to the development and popularization of hyping techniques, further solidifying its place in contemporary African music culture. This expansion has even led to formal recognition; for example, the Ghana DJ awards now include a category for MCs and hypemen, while Côte d’Ivoire’s national television ran a talent competition focused on atalaku performers.
Despite its rising popularity and professionalization—some hypemen reportedly earn up to £4,500 for short sets—critics argue that the hype culture can amplify noise levels at events and sometimes promote ostentatious or misleading lifestyles. There are concerns that performers occasionally fail to tailor their energy and language to suit the specific atmosphere of an event.
Nonetheless, for practitioners like Shang, hypemen play a vital social role by reanimating partygoers and encouraging communal joy amid challenging times. He explains that beyond material displays common in club settings, hypemen help awaken a playful, youthful spirit, making dance and celebration accessible even to older attendees.
As Afrobeats continues its global ascent, the hypemen and women at its core increasingly define a new era of performance—one marked by vibrant energy, interactive artistry, and deep cultural resonance.